This is from her debut album with the same title. It came out in 1976, and disco was not yet completely mainstream and sounding too slick. This song has an absolute monster bassline and is very funky and driving. Great for a disco/house set.

“Sweet Dynamite” came out on a 12″ with the very famous downtempo “Love For The Sake Of Love” as the track o the other side. And damn, check out those thigh-high boots!

Her earliest known recording is “Can I Hold You To It” released in May of 1973.
Between 1973 and 1977 she worked in and around Muscle Shoals, Alabama doing background work for various producers. She did session work as backing vcalist for such artists as L.T.D., Les McCann, Saturday Night Band.

She caught the attention of music producers, the late Moses Dillard and Jesse Boyce. The duo produced her two albums at Prelude Records.
She had some hits – “The More I Get, The More I Want”, and this one: “Feed The Flame”.

This edit by ADN is leaves in plenty of vocals while updating the musical parts. Great stuff.

This is a Northern Soul Classic. It also means a lot to me personally. This is not just a record for the floor.

Dutch 70’s radio-dj Leo van der Goot used it as his signature-tune, and after him Rob Stenders made it his own. I first heard it in 1988 or 1989 on Radio Veronica, in the legendary Stenders and van Inkel show. It was the first time I heard Northern Soul and a record this rare. The lyrics are awesome and I lived by them through many girlfriends and restless nights in bars and clubs. This song has an urgency and drama to it that is unmatched. Pure bliss.

This was sampled by A Tribe Called Quest for Bonita Applebum. . Of course, hearing Q-tip over ANYTHING is great. So good for them. But thank goodness I discovered the original before I learned about the sample.

This is an odd song. it was on a soundtrack to a movie I never saw. It is very slow. It is by a singer who I don’t really care about. BUT…It was produced and played by the guys from Chic. And it just sounds massive. The bass is…just…wow.

It’s a balearic classic, I have it on several mixtapes I play in my car in the summer, or whenever the sun shines. And I always play it when I dj.

In 1988, I was 15 years old and I was two years into buying records. I had a paperroute that gave me just enough money every week for some 7″es and the occasional 12″.

House was a relatively new phenomenon in Holland. There had been some early hits by Farley Jackmaster Funk and JM Silk, but “The Party” was the first song that really showed me what house was all about. The video was on MTV, and that was new on cable in my parents’ household. It made a big impression on 15 year old me. I bought the 12″ and was hooked to the song. It sounded so alien, I fantasized about the clubs it was played in. They were weird.

The big man behind ‘Kraze’ is the Haitian born Richard Jean Laurent. Living in New York, he began songwriting and performing in 1985. The time that house was the ‘new big thing’ in underground clubs in the US. Richard Laurent’s career took off in the legendary ‘Paradise Garage’-club in New York City, where his first performances were a big succes. A few months later he formed the house-act ‘Moonfou’ and released his first tracks on vinyl. His second release “Shut Up” was an instant hit, selling 250.000 copies his first time out.

‘The Party’ became an international club- and chart-hit, selling 850,000 copies worldwide in the first release. It even made it to the pop-charts in Europe, peaking for instance at number 29 in the UK Top 40 and at number 32 in the Dutch Top 40. This was all before house exploded in Europe, which made Kraze’s ‘The Party’ one of the first house-tracks to reach international chart-success.

Idris Muhammad (born Leo Morris on 13 November 1939 in New Orleans, Louisiana) is an American jazz drummer who has recorded and played with a host of artists including Ahmad Jamal, Grant Green, Hank Crawford, Lou Donaldson, Johnny Griffin, Pharoah Sanders and Grover Washington, Jr. At 16 years old, one of Muhammad’s earliest recorded sessions as a drummer was on Fats Domino’s 1956 hit “Blueberry Hill”.

The Beastie Boys sampled “Loran’s Dance” in “To All The Girls” on their legendary album “Paul’s Boutique”. Soundcloud user platurn stripped the song down to the simplest and beefed it up even more. Nice.

“K-Jee” is a 1971 song by American soul and funk Band The Nite-Liters. Written by Harvey Fuqua and Charlie Hearndon it charted in 1971 at 17 on the R&B Charts and 39 on the Pop. They eventually became “The New Birth” and released music until 2005.

I discovered K-Jee in 1994, when I got a promo-cd by japanese DJ Satoshi Tomiie, under the name “Shellshock”, where he reworked the MFSB version into a 10 minute-long housetrack. It was quite good and really energetic.

Subsequently, I found the MFSB version, listened to it, and found that one of course way better. Then, about 10 years ago I discovered Northern Soul throught the book “Last Night A DJ Saved My Life”, the best book ever written about dance music.

The Nite-Liters version is a Northern Soul classic, and though it’s not as polished as the MFSB-version, this one has it’s charm too. Lovely.

It’s all about the break with this one. At 4:04. Great for doing some insane moves on the floor. But since I’m no b-boy, I’ll just say this is a great record to dance to, from 1977. With a cool spoken intro.

Pat Lundy was a New York-based singer and actress, and was apparently a girlfriend of New York producer Buddy Scott. She was originally a member of the Symbols – a group that she left in 1962 – and put out several albums and singles on Deluxe, Columbia, RCA, Toto, Leopard and Heidi labels over a 20 year period, some of which are quite worth sorting out.

This track is in high demand right now, but you can still buy it digitally for 99 cents, if you don’t mind that.

It’s raining in Holland, I was on the subject of sunshine and found this slowjam again.

After his classic acoustic albums in the 1960s, Ramsey Lewis wanted to head in a new musical direction in the 1970s. As the mid-70s approached, he reunited with Maurice White, who at that time was with his own band, Earth, Wind & Fire. Members of EW&F including White played on the album sessions, while Philip Bailey added vocals.

The album became a huge crossover hit, charting at #1 on the Billboard Black Albums chart, as well as the Jazz album chart.